Klarinet Archive - Posting 001074.txt from 1997/10

From: "Luanne S. Jacobs" <wwplayr@-----.net>
Subj: Re: Long Tones
Date: Sun, 26 Oct 1997 01:14:53 -0400

HatNYC62@-----.com wrote:
>
> >>By holding long tones, the embouchure gets better developed and develops
> more
> quickly then if a person only plays his etudes and band music. <<
>
> Why would this be the case? An embochure is not made to play only one note at
> a time, is it? I wish I had worked with Stanley Hasty more than one master
> class, but I do remember one thing he said very clearly. I paraphrase: anyone
> can sound good playing one note, you can barely tell the difference between a
> poor player and an outstanding player on the basis of one note. However, the
> minute in INTERVAL is produced, any and all technical and tonal deficiancies
> will be immediately exposed.
>
> >Almost all tone problems require this as a remedial exercise. <
>
> Please explain what you mean by this. What are "tone problems?"
>
> >Also, when the student plays long tones, he has more of an opportunity to
> really listen to his own sound. He / she will then make both conscious
> and subconscious adjustments to obtain a sound more pleasing to himself.<
>
> Pleasing on one note only. What if producing that one pure note involves
> using an embochure adjustment which will not allow proper registration in
> passagework? Just stirring the pot here.

Consider the pot stirred! LOL Anyway, I have something to say. What
both of you are trying to say is correct. Long tones do have a purpose
in developing embouchure and tone. As far as the one note only deal, I
have to say I agree and disagree. Yes, it is only one note but to be
able to crescendo and decrescendo without changing tone , timbre or
pitch is important to learn to do and someone once told the most
difficult note to play is one note. AS far as long the the other
registers that is a voicing exercise. Etc. I'm sure I'll get some
strange remarks on this post! :o)

Luanne